Bax: Piano Works Vol. 1 - Piano Sonatas Nos. 1 & 2; Dream in Exile; Nereid

Arnold Bax (Composer), Ashley Wass (Performer) | Format: Audio CD

Product Details

• Performer: Ashley Wass
• Composer: Arnold Bax
• Audio CD (September 21, 2004)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Naxos
• ASIN: B0002TNGYQ
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
• Amazon Best Sellers Rank: #207,570 in Music (See Top 100 in Music)

Editorial Reviews

Although best known for his symphonic poems such as Tintagel, Bax also wrote prolifically for the piano. His early life was dominated by the keyboard and in his twenties he appeared in concerts playing his own music and that of famous European contemporaries. On this first volume of the complete piano works, two epic sonatas are combined with impressionistic miniatures. The First Sonata, a turbulent Lisztian single movement abounding in colouristic effects, particularly at the bottom of the keyboard, was inspired by the new piano music of the Russians, particularly that of Scriabin. The foreboding Second Sonata was described by the composer himself as ‘concerned with the warring forces of light and darkness’, perhaps an autobiographical response to the recently ended war or the Easter Rising or both.

Customer Reviews

Most Helpful Customer Reviews

8 of 8 people found the following review helpful:

5.0 out of 5 stars Bax to the Max - Engaging Sonatas and other Gems, April 14, 2007

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Hexameron - See all my reviews

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This review is from: Bax: Piano Works Vol. 1 - Piano Sonatas Nos. 1 & 2; Dream in Exile; Nereid (Audio CD)

Arnold Bax has his share of enthusiasts, mostly those who appreciate his symphonic poems and other large-scale orchestral works. Although I've heard a few of these orchestral works on the radio, this particular recording is the only CD I own of Bax's music. I bought this CD because I was enticed by the Naxos description of these Sonatas: "turbulent Lisztian" and "warring forces of light and darkness." Whatever Bax's reputation with orchestral music is, after judging these two sonatas, I think his piano compositions are highly-crafted, aesthetically pleasing, and full of dark but beautiful intensity.

I disagree with the reviewer below me that these sonatas are "boring" or tend to "meander." I wonder if we're hearing the same music. Both Sonatas, particularly the massive Second, are structural organisms, replete with motifs and identifiable themes. I certainly didn't get the impression that the First Sonata was "meandering." Of somewhat Lisztian-Scriabinesque descent, the 22 minute work explores highly Romantic but contrasting themes. Ashley Wass's extraordinary dynamics are apparent; he expresses the forte passages with triumphant passion and plays the soft moments with poise. Bax himself demonstrates an interesting conglomeration of pianistic styles in this First Sonata. One hears Lisztian tremolos, Scriabin-like dissonances and in the marvelous chiming Bells of the coda, a tinge of Rachmaninov. Overall, this is a well-balanced and emotionally engaging 20th century piano sonata.

The Second Sonata, a mammoth of a single-movement composition reaching 28 minutes, is a unique work with an entirely different scope in mind. Not since Beethoven's 5th Symphony have I experienced such a convincing battle of themes, of darkness and light. The incredibly dark opening and its subsequent late-Liszt theme is a significant "motto" or motif of darkness. This ominous music is pleasantly melodic and the contrasting fanfare of the "light" theme is wonderfully majestic. For 28 minutes the themes riposte and parry each other. Darkness always seems victorious in its return, but the power of light is never doubted. By the end of the extended coda, it's difficult to say which theme has won. Musically, in the final cadence, it "sounds" like the light won, but somehow the grim darkness theme still lingers in the background. This is just original and excellent piano writing. Bax employs convincing pianistic devices: shadowy tremolos, dissonant arpeggios, sonorous experiments in the lower registers, and rich chordal textures.

The last four pieces are not as masterful as the two Piano Sonatas, but are full of charm, excitement and some gorgeous melodic ideas. "Dream in Exile," for example, possesses terribly haunting music in the Romantic style. Although not akin to a Chopin Nocturne, it certainly matches the seductive beauties of those Chopin miniatures. The next piece, "Burlesque," is obviously lighter material and somewhat jovial, displaying an oriental characteristic. But after the brooding gloom of the previous works, this little piece makes for good diversity. The "Nereid" piece is, according to Bax, "nothing but tone color - changing effects of tone." Yet it's still tempting to imagine a dreamy vision of swimming water nymphs while listening to the murky harmonies. From the start, the last piece, "In a Vodka Shop," sounds exactly like "Burlesque" with its Russian rhythms and loud declarations. It's not that memorable but still prevails as an enjoyable trifle.

Bottom line: Bax's two large Piano Sonatas are astounding works of the late-Romantic early-Twentienth-Century mold. With flavors of Russian piano-writing, mystic-Scriabin and Lisztian virtuosic ornamentation, the music is superficially pleasant. Yet delving deeper into this music, and upon repeated hearings, one can pick up on tremendously effective coloring, sonorities, and structural suggestions. This CD is Naxos Gramophone Editor's Choice for a reason: it contains dramatic, compelling, and substantial music. Highly Recommended!

1 of 1 people found the following review helpful:

5.0 out of 5 stars Mr. Wass Delivers, May 8, 2011

By 

Kelvin Brown (Ashburn, VA) - See all my reviews
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This review is from: Bax: Piano Works Vol. 1 - Piano Sonatas Nos. 1 & 2; Dream in Exile; Nereid (Audio CD)

I am not an expert musicologist, but I recently fell in love with the tone poems, and other orchestral compositions of Bax (In the Garden of Fand, In the Faery Fills, etc) and thought I would buy a few CDs containing his piano works.

The piano sonatas seem to reflect more of the turmoil and disappointment in the life of Bax, and unlike his tones poems, they lack the sense of enchantment and escapism. However, these pieces are deeply lyrical and are some of the best classical piano music of the 20th century. They are romantic with a touch of impressionism thrown in for good measure. Very unlike what Shostakovich or Stravinsky, I would not say these pieces are belong to the modern period.

It is easy to see from listening to these to see where the experience easily carried over into his seven symphonies. I appreciate modern composers, like Shostakovich, but Bax fills the gap between 19th and 20th century.

The sound engineering of these recordings is impeccable, and Mr. Wass' commitment to these pieces imbues a sense of power and passion that makes these, in my opinion, the versions to own. I am a great admirer of Ashley Wass and his interpretations of the piano works of 20th century English composers. I agree that there is often sharp contrast in dynamics, but unlike the first review, I find that Mr. Wass' approach to these pieces is deeply emotional and appropriate for these pieces. Highly recommend.

1 of 1 people found the following review helpful:

4.0 out of 5 stars Wonderful pieces, but a bit overwrought, April 23, 2011

By 

Auguste O. Meyrat (Dallas, TX United States) - See all my reviews
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This review is from: Bax: Piano Works Vol. 1 - Piano Sonatas Nos. 1 & 2; Dream in Exile; Nereid (Audio CD)

This CD takes a while to appreciate, but if the time is given, the complex structure and shining moments of this piece start to become discernible. Bax's piano music definitely has elements of Debussy, Scriabin, Liszt, and even Poulenc (the vodka and burlesque pieces reminded me of his short works for piano). For those interested in these composers and the hazy yet harmonious impressionistic layering, Bax's pieces are intriguing and often quite beautiful.

Granted, the music will take some time to really enjoy. At first, most of the pieces seem to meander. Things grow loud then soft with different themes popping out here and there for little reason. Some of this can be attributed to the pieces themselves that try to mimic the crazy one-movement sonatas of Liszt with some modernist affectations, but the pianist has a part in this as well. While I like Ashley Wass and his choice of repertoire, I think he's sometimes overwrought in his interpretation. He employs too much dynamic change, and too many passages are played way too slowly, often breaking up the flow and structure of the piece. Thus, the longer pieces have moments of greatness but fall into lulls all too soon, leaving the listener to wonder how it all fits together.

However, considering the ultimately sublime quality of the music and the small price tag, this CD is worth purchasing and enjoying.